When Knighthood Was in Flower

About the production

The film was William Randolph Hearst's most expensive production for Marion Davies, featuring over 5,000 costumes and elaborate palace sets. The production took over six months to complete due to the intricate detail required for the historical costumes and sets. Marion Davies reportedly performed many of her own stunts, including horseback riding sequences.

Themes

Themes & topics

Historical background

Contemporary records classify When Knighthood Was in Flower (1922) as 1922 film, placing it within late silent cinema and the transition toward sound.

Why this film matters

When Knighthood Was in Flower (1922) helps trace genre evolution, performer careers, and the material conditions of silent exhibition.

Making of

The production was marked by William Randolph Hearst's intense involvement and desire to create a prestige vehicle for Marion Davies. Director Robert G. Vignola worked closely with Davies to develop her dramatic performance, moving away from her previous comedic roles. The film featured thousands of authentic-looking period costumes, many created by renowned designer Travis Banton. The elaborate palace sets were constructed on Paramount's largest soundstages, with special attention to historical accuracy in the Tudor architecture. The production faced challenges with the extensive battle sequences and court scenes, requiring coordination of hundreds of extras. Davies and Stanley developed a close professional relationship during filming, which translated into convincing on-screen chemistry that audiences loved.

What critics said

Where contemporary reviews survive, When Knighthood Was in Flower is discussed in terms of audience appeal at release; later criticism often reframes it through archive restoration and festival programming.

Did you know?

• This was Marion Davies' most successful silent film and the one she considered her best work
• The film was so popular that it sparked a revival of interest in Tudor-era costumes and fashion
• William Randolph Hearst spent lavishly on the production to ensure Davies would be taken seriously as a dramatic actress
• The film's success led to Davies receiving a contract with Paramount Pictures worth $1 million
• A young Myrna Loy appeared as an extra in several court scenes
• The original novel by Charles Major had been adapted for the stage starring Julia Arthur in 1901
• The film's costume budget alone exceeded $100,000, an unprecedented amount at the time
• King Louis XII's palace set was so elaborate it remained standing for other productions for over a year
• The film was re-released in 1928 with a synchronized music score
• A 1933 sound remake was considered but abandoned due to Davies' declining career

Awards & recognition

• Photoplay Magazine Medal of Honor (1922) - One of the year's best films
• Motion Picture Magazine's Best Production Design (1923)

Visual style

The cinematography by Ira H. Morgan was considered groundbreaking for its time, featuring innovative camera movements and lighting techniques. Morgan employed elaborate tracking shots during the chase sequences and used soft focus techniques to enhance the romantic scenes. The film utilized multiple exposure techniques for dream sequences and employed innovative lighting to create authentic period atmosphere. The battle sequences featured wide shots that captured the scale of the conflict, while intimate scenes used careful lighting to highlight the emotional content. The cinematography helped establish the visual language for historical epics that would influence filmmakers for decades.

Innovations

The film pioneered several technical innovations in costume design and set construction. The production developed new techniques for creating authentic-looking period armor that was lightweight enough for actors to wear during action sequences. The elaborate palace sets featured working fountains and movable walls, allowing for dynamic camera movements. The film's special effects, particularly in the chase sequences, used innovative matte painting techniques to create the illusion of vast European landscapes. The production also developed new methods for aging costumes and props to create authentic historical appearance.

Music

As a silent film, it was accompanied by live musical scores in theaters. The original cue sheet suggested classical pieces including works by Tchaikovsky and Wagner. For its 1928 re-release, a synchronized musical score was compiled featuring popular songs of the era. The music emphasized the romantic and dramatic elements of the story, with specific themes for the main characters. The original theatrical presentations often featured full orchestras, particularly in major cities, enhancing the film's epic feel.

Famous quotes

I would rather be a poor man's wife and live in a cottage than be a queen without love." - Mary Tudor

Duty is a heavy burden, but love is heavier still." - Charles Brandon

A king may command bodies, but he cannot command hearts." - Mary Tudor

In this court, every smile hides a dagger and every bow conceals a plot." - Court advisor

Memorable scenes

• The grand ballroom scene where Mary and Charles first dance together, featuring hundreds of extras in elaborate period costumes
• The dramatic escape sequence where Mary disguises herself as a commoner to flee the palace
• The tense confrontation between Henry VIII and Mary over her refusal to marry Louis XII
• The romantic boat scene on the Thames where Mary and Charles declare their love
• The final chase across the French countryside with royal guards in pursuit

What audiences thought

Audiences embraced the film enthusiastically, making it one of the biggest box office hits of 1922. The romance between Mary and Charles Brandon resonated strongly with viewers, and the film's spectacular visuals provided the kind of escapist entertainment that audiences craved after World War I. The film ran for months in many cities, with theaters often adding extra showings to accommodate demand. Marion Davies received thousands of fan letters praising her performance, and the film's success led to increased public acceptance of her as a serious actress. The movie's popularity sparked a trend of Tudor-themed films and fashion throughout the 1920s.

Film connections

Influenced by

• The novel 'When Knighthood Was in Flower' by Charles Major
• Stage adaptation starring Julia Arthur
• Earlier historical epics like 'Queen Elizabeth' (1912)
• Shakespearean historical plays

This film influenced

• The Iron Mask (1929)
• The Private Life of Henry VIII (1933)
• The Virgin Queen (1955)
• Anne of the Thousand Days (1969)
• A Man for All Seasons (1966)

Film restoration

The film is preserved in the Library of Congress and the Museum of Modern Art's film collection. A complete 35mm print exists and has been restored by several film archives. The film was transferred to digital format in the 2010s as part of a silent film preservation initiative. Some original tinting has been preserved in the restoration.

Where to watch

• Available on DVD from Warner Archive Collection
• Streaming on The Criterion Channel
• Available for viewing at the Library of Congress Packard Campus
• Occasionally screened at silent film festivals and classic cinema venues
• Available through some academic film archives